that isn't what you have there. nowhere in the tablature is the third of the chord indicated. For "G11' you have G F A C, G C F A, and D G C F A. the listing of 'B' there is a mistake. I think you can find a better handbook than that.

the presence of the P11th or 4th and the major third in a seventh chord is not very useful in pop, or jazz and it really is not seen or indicated.

there is usage of an 11th in addition to the minor third to make distinct from 'sus 4' but the minor ninth or second clash of it in a major chord is not very desirable; conventionally the 4 'resolves' to 3 and we won't receive the dissonance of both at the same time too happily in these styles.

you might see a suspended B resolve to A in an 'F/G bass' but per se it isn't happening.

I reckon thinking of it as F/G bass, or Dm7/G bass is more helpful than trying to justify that particular tertial extension. This is jazz type of harmony and what's happening is a subdominant harmony with the bass as dominant. here the use of the term 'suspension' reveals some context for such an occurrence in 'legit' practice (voice-leading)...

I like the sonority you listed plenty, but... To be precise, I wouldn't call that B next to the C anything 'G11', for me that sound is closer to being a sharp 4 on an F triad with G in the bass, not that naming is that necessary...

This is getting into subtleties that that handbook isn't about. as a primer that is a mistake right there.